Hans Von Marées

(redirected from Hans von Marees)

Marées, Hans Von

Born Dec. 24, 1837, in Elberfeld, North Rhine-Westphalia; died June 5, 1887, in Rome. German painter.

Marées studied with K. Steffeck in Berlin in 1854 and 1855. Having lived in Italy from 1864 to 1870, he settled there permanently in 1873. Under the influence of Italian Renaissance art, Marees painted murals and sought to achieve lifelike representations (frescoes in the Zoological Station in Naples, 1873-74). He shared the aesthetic views of A. Hildebrand and K. Fiedler (neo-idealism), seeking to embody the dream of the “golden age” of humanity in allegorical images and to invest his works with expressive, purely plastic elements (The Golden Age, two versions, 1879-85, New Pinakothek, Munich).

Marées’s subsequent triptych cycles on mythological themes are marked by clearly arranged masses, rhythmical forms, and rather bright colors; their two-dimensional and linear compositions anticipated art nouveau painting. The artist’s striving for an abstract artistic ideal, based on associations with classical art, introduced elements of cold abstractness into his works (The Judgment of Paris, 1880-81, National Gallery, Berlin; The Hesperides, 1884-87, New Pinakothek, Munich).

Herbert Molderings, the most distinguished German Duchamp scholar, proposes that the subject may have been inspired by a sketch made by the 19th-century German painter Hans von Marees (1837-1887), where a woman dressed in a diaphanous antique gown is surrounded by two naked men.

This is turn-of-the-century Symbolism with a German accent, with highly romantic, sometime morbid and often erotic images from artists ranging from Arnold Bocklin and Franz von Stuck to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.

While in Jena he first made the acquaintance of the distinguished triumvirate who were to be so very influential for his future: Hans von Marees (1837-87), Felix Anton Dohrn (1840-1909), and Adolf Hildebrand (1847-1921), who was a pupil at the Stoysche Anstalt during Grant's time there.

This is turn-of-the-century Symbolism with a German accent with highly romantic, sometimes morbid, and often erotic images from artists ranging from Arnold Bocklin and Franz von Stuck to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.

Like his German contemporaries Anselm Feuerbach and Hans von Marees, Bocklin enjoyed long sojourns in Italy, where his imagination was fired with visions of antiquity, as if on a sunny excursion to Capri he might stumble upon no less an adversary than Polyphemus.

This is turn-of-the-century Symbolism with a German accent with highly romantic, sometime morbid, and often erotic images from artists ranging from Arnold Bocklin to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.

This is turn-of-the-centiury symbolism with a German accent, highly romantic, sometimes morbid and often erotic images from artists ranging from Arnold Bocklin to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.

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